Some features of the piano Sonat Beethoven. Analysis of music

(1906-1989)

<Сонатная форма в фортепьянных сонатах Бетховена>

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1. In all 32 cycles first Parts are present sonate forms, except five - 12., 13., 14., 22. and 28. - cycles. It is necessary, however, to add that 28. The cycle is not a special case requiring special consideration.

2. FROM latest Parts clean Sonatal forms are the latest parts 5., 14., 17., 22., 23., 26, 28. Cycle (i.e. seven). (True, I still do not know what is the last parts 29. And 31. Cycles.)

From the whole of the previous one, it follows that cycles in which and the first and last Parts are sonate - this is 5., 17., 23., 26.

N.B. A special case is last part 1. SonatasWith which, with a real sampling exposition, the development is replaced - as in the large Rondo - a trio-like second side.

3. Sonatal forms in middle parts Cycles are found in: 3. (second part), 5. (second part), 11. (second part), 17. (second part), 18. [second part SCHERZO (!)] 29. (third Part) I. 30. cycle [ second part (?)], i.e. also in seven cycles.

However, the sonata forms of middle parts [are at the cycle level it (relatively) loose Parts] differ, as a rule, "flaws": the second part 5. Sonata cycle without development; In the second part 11. - A side topic is a final batch; In 18. The Scherzo cycle (second part) is also distinguished by unusual for seen exposure by relations; In the third part 29. Cycle Significance of a side topic is inferior to the binder, it also turns out to be the final party; The second part 30. The cycle is deprived of Kadans, who would separate the exposition from the development.

[As for the second part 3. Cycle, it is necessary to speak about it.]

It turns out that

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32 Piateen Sonats Beethoven are divided into four-part (13 sonatas), three-part (13 sonatas), duplex (6 Sonatas). But if you can say so, quantity parts of the Sonata far from always coincides with their number. There may be three parts in the sonate, but one of them will combine the functions of two parts, so ultimately this cycle still includes four parts, of which one exists, so to speak, underwater- On the shelf of one of the other three parts. On the contrary, it may happen that of the four parts of the cycle one or two of them, "absolutely" loose built, cannot claim independent existence and give themselves as relating to any other part of the cycle or to the cycle as a whole. So the above separation by 13 + 13 + 6 does not turn out to be real from any point of view.

Take four-page cycles to begin. The first four Sonates (1. F, F, F, F; 2. A, D, A, A; 3. C, E, C, C; 4. ES, C, ES, ES) - Four-inclusive without any doubt. In them, each of the four parts is self-independent, although it takes more or less in the cycle, that is, an unequal, outstanding place. The same can be said about 7. (D, D, D, D), 11. (B, ES, B, B) and even 12. Sonata (AS, AS, AS, AS), despite What is the first time in a four-inclusive sonate (in threehole sonacms it has long happened), relations between parts in the cycle completed: In 12. Sonata there is no sampling form! In the following 13. Sonata (ES, C, AS, ES), where there is also no sonate form (except for the ghostly sinks found in the third, loose portion of this cycle), complex parts relationships are programmed by the fact that these parts belong to Sonata "Quasi Una Fantasia". 15. Sonata (D, D, D, D) is again characterized by the usual equilibrium of the four-stable sonata, into which only its analysis of its infrastructure reveals rather unusual phenomenon by their value. Literally the same can be said about 18 Sonata (ES, AS, ES, ES). 28. Sonata (A, F, A, A), although its last part is a setonal form, close in its essence 13. Sonata. 29. Sonata (B, B, FIS, B) can be unconditionally ranked to the "main" four-part Beethoven Sonataks (- this is its paradoxicality). 31. Sonata (AS, F, AS [!], AS) occupies an intermediate position between "ordinary" ("normal") sonata and sonatas like 13. or 28. As can be seen, the overwhelming majority of the four-stable sonatas put creative (structural) problems, The solution of which was carried out without it to encroacitate the foundations characteristic of four-part Sonatas. Beethovenskaya three-step piano Sonata is a priori attack on the usual appearance of four incidence.

But before you turn to three bargain cycles, we will pass again before the rank of four-hot Sonatas. What are the internal relations of four incidence?

1. Sonata. Not quite indicative for normal four incidence. It consists of a sample shape, a small rondo, a scratch-shaped part and a hybrid of the sonata form and a large Rondo. But this is not the usual type of hybrid, in which the second side topic is replaced by the development and which can be called Rondo Sonata. The hybrid, which is a fourth part 1. Sonata, would be correct to call not Rondo Sonata, and Sonata-Rondo. Here is a sofate form in which the development is replaced by a second side.

2. Sonata. - Normal type of four-part Sonatata. Its first three parts are the same as in 1. Sonata. The fourth part of it is a big Rondo. 2. Sonata is really a normal type, etalon four-part Sonata, but she, perhaps (our review will show it or not), the only normal - In this sense, the four-part Sonata Beethoven.

3. Sonata. Coincides in the form of its parts CO 2. Sonata, but with the exception of the second part, which is Sonata. Thus, four parts of this sonata: Sonata, sonata, Scherzo, Big Rondo.

4. Sonata. The whole coincides in the form of its parts CO 2. Sonata. The inner structure of its parts (especially the second and third, but first) is very different from what is happening in the same forms in 2. Sonata.

7. Sonata., as well as 4., entirely coincides in the form of its parts of CO 2. Sonata, again with very large differences in the inner structure of parts.

11. Sonata. coincides in this respect with 3. Sonatay. Its parts are Sonata, Sonata, the scree-shaped part and large Rondo, and, of course, says that the internal structure is highly autonomous compared to what is happening in 3. Sonata.

12. Sonata. Lained seeding form. Its first part is the topic with variations, followed by two scratched parts and a large Rondo.

13. Sonata. Also deprived of a sonata form. It consists of two more or less loose-shaped parts, a very loose slow portion, which has some deviations, and a large Rondo.

15. Sonata. It consists of a sonate form, two scratched parts and a large Rondo.

18. Sonata. The first and last part are Sonata, the third part is the scratchy. The second part of "Scherzo" is also essentially a seen form. To what extent is this jocessing sonatas in one cycle so that the first part begins the second step?

< I половина 70 гг. >

L. Beethoven, Sonata №4 (or. 7) ES-DUR, 2 part -brief analysis of the musical form

Sonata for Piano ES-DUR OR.7 (№4) was written in 1796-1797.

The tonality of the second part of the Sonata (C-DUR) is a terrent relation to ES-DUR, which was often used by composers of the romantic era.

Form of part - a kind of seenless form without development, characteristic of the slow parts of Beethoven's sonoto-symphonic cycles. Brief scheme of part:

Main Party (8 + 16 TT.) C-DUR

Side Party (12 T.) AS-DUR-F-DES

A small developing section (14 tons)

Main Party (8 + 15 tt.) C-DUR

Side Party (5T) C-DUR

Final section (8T) C-DUR

Code (4 T.) C-DUR

Main Party It is a section with three-parting elements (24 t.). The first 8 clocks are exposed to the main image in the form of a one-photon period with invading middle cade. The following 16 clocks are the development of the main topic (6 tons of G-DUR), reprzyze with culmination and ligament to the side part.

In the genre basics of the main party, you can find several sources. One of the brightest is choral, manifested in the chord choral texture. The second genome source is the declamation - the intonation of the measured speech, connected to the mission. Another genome source is hidden in the background due to a very slow pane (Largo) is a three-row dance, resembling Landler.

In the process of development, the dance genre base gradually enters the fore (TT. 9 - 12), connecting with "decorations" in the melody, which is manifested by the influence of the era of classicism. Also, during the development process, another genre basis is manifested - a marchingness associated with dotted rhythm. Rhythm Marsha is brightly manifested in the reprise of the section of the main party in chords on Forte.

The main batch melody is discreet, rotating type, is a descent from the top at the beginning to the tonic. The melody movement is mostly entered, refers to the interval of the tonic policy. In the middle section, the melody three times emphasizes the I and V stage of the dynamic tonality (G-DUR). In the reprise of the main party, the melody rises waves toward the climax (18 tons): there is an appeal of a quart intonation of the main theme.

Subject party It is an example of "derived contrast" from the main topic - its image is more singeling, individualized than the image of the main party. It is more "mosaic", divided into 4 closures, combines simultaneously and the development function, which also contributes to the instability of tone development - the AS-F-DES change.

In the genre basics of the side parties, salvation is also present, thanks to the chordistic texture, the declamination is more pronounced, due to halftone secret intonations, as well as there are associations with a march due to dotted rhythm.

The melody is more directed, directed upwards (unlike the main party, where the movement is directed down). Also, the effect of aspiration is facilitated by the repetition of the topic of the side party from higher sounds: ES - C - AS

Function development The part of the part plays a small section (14 clocks), consisting of a dialogue (5 tons), a false reprise in the B-DUR in the upper case (3 t.), Stretta on the downward quartic motive of the main party (2 tons) and ligaments to Reprise (4 t.).

Reprise The main party almost completely repeats the material of the exposition, reducing the bundle to the side part of 1 tact. The average of the section is added in the middle section of smaller melting, and in the climax, the aspiration is intensified to the top, due to the duplication of the quarts in the rudiment melody in the lower voice.

The side consignment in the reprise is carried out in the main tonality (C-DUR) in a strongly reduced form, is transferred to the lower voice, which brings it in nature to the main topic and is completed by the extended kaznacling in the main tonality, which can be regarded as the final section.

The last 6 clocks can be designated as codabuilt on the overtone of the initonation of the main party.

It should be noted that the means intonation interconnection The principle of "growing" of the entire thematic material of a part of the thematic "impulse" is characteristic of the entire part of the Beethoven.

Such a "impulse" here is the two of the first motive of the main party, of which all the subsequent topics of the part arise.

They consist of several "components":

1. Available ascending motion for a second

2.Rima: quarter (strong share) - eighth

3. apartment descending jump on a strong share

4.Punk rhythm to a strong share

5.Akkord choral texture

All subsequent development is a "recombination" of these "components", placing them into new conditions and combinations.

Initially, a quart descending intonation is connected to a dotted rhythm on a strong share. Already in the reprise of the main party, we see a quart intonation in the advanced, ascending form. In the side part, a quart intonation is carried out in a rising form on a third share.

The dotted rhythm is still connected in the main party with a second intonation on a strong share, and later in the side part of a weak share, giving her aspiration. Later, on the same dotted rhythm it is based on the final section in which the quartic interval becomes a policy.

Conclusions: In the second part of the Sonata of Beethoven No. 4 of the early period of creativity, it is possible to notice the impact of the music of the era of classicism (the principles of building a sonata cycle, the presence of jewelry), also the features of the era of romanticism (terrent tonal ratio of parts (I. - ES, II, C) and Parties (GP - C, PP - AS)).

At the same time, you can already see the characteristic features of the Beethoven style of slow parts: a restrained, philosophical lyrics, a speech aimed at many people, which is achieved by the combination of genre basics of chorals in chord accompanies and recitation in the melody. You can also see the origin of the principle of creating the entire musical material of the part of the intonations of the main topic, which will later be bright in the symphones of Beethoven.

Analysis of Sonata L.V. Bethoven - Op.2 No. 1 (F Minor)

Kyazimova Olga Aleksandrovna,

Concertremister, MBU to "Chernushinskaya DMSH"

Beethoven is the last composer of the 19th century, for which the classic Sonata is the most organic form of thinking. The world of his music is impressive diverse. Within the framework of the Sonatal form, Beethoven managed to subjected to multiple types of musical thematism of such freedom of development, to show such a bright conflict of topics at the level of elements, which composers of the 18th century did not think. In the early works of the composer, researchers often find elements of the imitation of Haidna and Mozart. However, it is impossible to deny the fact that in the first piano sonats of Ludwig van Beethoven there is originality and originality, which then found that the unique appearance, which allowed his works to withstand the most stringent test - time test. Even for Haidna and Mozart, the genre of the piano sonata did not mean so much and did not turn into a creative laboratory, or in a kind of diary of the innermost impressions and experiences. The uniqueness of Beethoven Sonatas is explained in part and the fact that, striving to equalize this first chamber genre with a symphony, a concert and even a musical drama, the composer almost never performed them in open concerts. Piano Sonats remained a deeply personal genre for him, faithful not to abstract humanity, but to an imaginary circle of friends and like-minded people.

Ludwig Van Beethoven is a German composer, a representative of the Vienna Classical School. Created a heroic-dramatic type of Simphonism (3 "Heroic", 1804, 5th, 1808, 9th, 1823, Symphony; Fidelio Opera, final revision 1814; Koriolan Overshots, 1807, "Egmont", 1810; A number of instrumental ensembles, sonatas, concerts). Full deafness, comprehended by Beethoven in the middle of a creative path, did not break his will. Late essays are characterized by a philosophical character. 9 Symphony, 5 concerts for piano with orchestra; 16 string quartets and other ensembles; Tool Sonatas, including 32 for piano, (among them, etc. "Patetical", 1798, "Moon", 1801, "Appassionate", 1805), 10 for violin with piano; "Solemn Mass" (1823). Webethoven never thought his 32 sonates for piano as a single cycle. However, in our perception, their internal integrity is indisputable. The first group of Sonatas (№№ 1-11), created between 1793 and 1800, is extremely heterogeneous. They lead "big sonata" here (so the composer himself indicated them), in size not inferior to symphony, and the difficulties exceeding almost everything written then for piano. Such are the four-part cycles of Opus 2 (№№ 1-3), Opus 7 (No. 4), Opus 10 No. 3 (No. 7), Opus 22 (No. 11). Beethoven, who won the Best Pianist Vienna in 1790s, stated himself as the only worthy heir to the deceased Mozart and an aging handne. From here - the dorned-polemical and at the same time the life-affirming spirit of most early sonatas, whose courageous virtuosity clearly went beyond the possibilities of the then Viennese piano with their clear, but not strong sound. In early Beethoven Sonats, the depth and penetration of slow parts also amazes.

The diversity of artistic designs, characteristic of the form-contained creativity of Beethoven, was reflected in the most direct form on the peculiarities of the sonata form.

Any Beethoven Sonata is an independent problem for a theorist involving the analysis of the structure of musical works. All of them differ from each other and varying degrees of saturation with thematic material, its manifold or unity, greater or lesser degree of conciseness or spatial in the presentation of their completeness or exposure, equilibrium or dynamism. In different sonats, Bethoshoven emphasizes various internal sections. Creames and constructing a cycle, its dramaturgical logic. Development of development is infinitely diverse: and modified repetitions, and a motive development, and tonal development, and an octic motion, and polyphonylation, and ronduity. Sometimes Beethoven is blinking from traditional tonal ratios. And always a new cycle (as it is generally characteristic of Beethoven) turns out to be a holistic organism in which all parts and themes are combined with each other, often hidden from surface hearing internal connections.

The enrichment of the sonata, inherited by Beethoven in its main circuits from Gaidna and Mozart, has affected, primarily in strengthening the role of the main theme as an incentive of movement. Often, this stimulus Beethoven concentrated in the initial phrase or even in the initial motive of the topic. Constantly improving its method of development of the topic, Beethoven came to such a type of presentation, in which the transformations of the primary motive constitute a long-term-extended continuous line.

Piano Sonata was for Beethoven the most direct form of expression of the worried thoughts and feelings, his main artistic aspirations. His attraction to this genre was particularly sustainable. If symphonies appeared in him as a result and generalization of a long period of quest, then the piano sonata directly reflected the variety of creative searches.

Thus, the deeper the contrast of the images, the more dramatic conflict, the more difficult the process of development itself. And the development of Beethoven becomes the main driving force for the transformation of the sampling form. Thus, the sofate form becomes the basis of the overwhelming number of works of Beethoven. According to Asafieva, "A wonderful prospect was opened before the music: she [a sophisticated manifestation of the spiritual culture of mankind, she could express the complex and sophisticated content of ideas and feelings of the XIX century."

It was in the sphere of piano music of Beethoven who used to all and the most decisiveness approved his creative individuality, overcame the features of dependence on the key style of the XVIII century. Piano Sonata was so outpacing the development of other genres of Beethoven, which is essentially not applicable to the usual conditional scheme of the periodization of Beethoven creativity.

Characteristic for Beethoven themes, the manner of their presentation and development, a dramatized interpretation of a selection scheme, a new replica, new timbre effects, etc. For the first time appeared in piano music. In the early Beethoven Sonats, there are found in dramatic "themes-dialogues", and a spectative declamation, and "topics", and progressive chord topics, and combining harmonic functions at the time of the highest dramatic voltage, and consistent motive-rhythmic compression, as a means of enhancing internal Voltages, and free diverse rhythmics, fundamentally different from the dimensional dance periodicity of the XVIII century music.

In his 32r piano sonata, the composer with the greatest penetration into the inner life of a person recreated the world of his experiences and feelings. Each Sonata has its own individualized interpretation of the form. The first four sonatas are four of the chase, but then Beethoven returns to a three-part form typical of it. In the interpretation of the side part of the Sonata Allegro and her relationship with the main Beethoven, the principles of the Vienna Classical School, which established before him developed in a new way.

Beethoven creatively mastered much of the French revolutionary music, to which he treated with great interest. "The mass art of Flaming Paris, the music of the national revolutionary enthusiasm found its development in the powerful skills of Beethoven, as no one who heard the invoked intonation of his time," wrote B.V. Asafyev. Despite the variety of early Sonat, Beethoven, in their foreground are innovative heroic and dramatic sonata. The first in this row was Sonata No. 1.

Already in the 1st Sonate (1796) for Piano (OR.2 No. 1), they nominated the principle of contrast between the main and side parties as an expression of the unity of opposites. In the first Sonate F-Moll Beethoven begins the line of tragic and dramatic works of Beethoven. It clearly appear the features of the "mature" style, although chronologically it is entirely within the early period. Its first part and the final is characterized by emotional tensions, tragic sharpness. ADAGIO, transferred from an earlier work, and Menuet is still characterized by the features of the "sensitive" style. In the first and last parts, the novelty of the thematic material is attracted (melodies built on large chord circuits, "exclamations", sharp accents, rippled sounds). Thanks to the intonation similarity of the topic of the main party with one of the most famous Mozartt topics, its dynamic character is especially clear (instead of the symmetrical structure of the Mozartov Topics, Beethoven builds its topic on an ascending movement to melodic climax with a "summing" effect).

The kinship of intonation in contrasting topics (the side of the same rhythmic scheme is reproduced as the main, on the opposite melody movement), the purposefulness of the development, the sharpness of the contrasts - all this is already significantly distinguished by the first sonatoo from the Vienna keystroke style of Beethoven's precursors. An unusual building of the cycle in which the final plays the role of a dramatic vertex, it appeared, apparently, under the influence of the symphony of Mozart G-Moll. In the first sonate, tragic notes, a stubborn struggle, protest, are heard. To these images, Beethoven will repeatedly be returned to their piano sonata: fifth (1796-1798), "pathetic", in the "Lunny" final, in the seventeenth (1801-1802), in Appassionate. Later, they will receive a new life outside the piano music (in the fifth and ninth symphony, in Koriolan's supervisors and Egmont).

The heroic-tragic line, consistently passing through all the piano creativity of Beethoven, does not at least exhaust its figurative content. As mentioned above, the Beethoven Sonats cannot be reduced even to several dominant types. We mention the lyrical line represented by a large number of works.

In the tireless search for a psychologically justified combination of two components of development - struggle and unity - largely due to the expansion of the circle of the tones of side parties, increasing the role of binders and final parties, an increase in the development of development and the introduction of new lyrics in them, the dynamization of the reprise, transferring the total climax to the deployed code . All these techniques are always subordinated to Beethoven Ideanly shaped work plan.

One of the powerful means of musical development in Beethoven is harmony. The very understanding of the boundaries of the tonality and the sphere of its actions acts at Beethoven the relief and wider than its predecessors. However, no matter how long the production of modulation was distant, the attractive force of the Tonic Center is never attenuated.

However, the world of Music Beethoven is stunnively diverse. In his art there are other fundamentally important parties, beyond which his perception will inevitably be one-sided, narrow and therefore distorted. And first of all, this depth and the complexity of the intellectual principle laid in it.

The psychology of a new man, freed from feudal pass, is revealed by Beethoven not only in conflict-tragedy plan, but also through the sphere of high inspired thought. His hero, possessing indispensable courage and passion, endowed with the rich, subtle intelligence. He is not only a fighter, but also a thinker; Along with the action, it is characterized by a tendency to concentrated reflection. No secular composer to Beethoven has reached such a philosophical depth and scale of thought. Beethoven's glorification of real life in its multifaceted aspects was intertwined with the idea of \u200b\u200bthe cosmic greatness of the universe. The moments of inspired contemplation coexist in his music with heroic-tragic images, illuminating them peculiarly. Through the prism of sublime and deep intelligence refracted in the music of Beethoven's life in all its diversity - stormy passions and detached dreaminess, theatrical dramatic patience and lyrical confession, paintings of nature and scenes of life ...

Finally, against the background of creativity of their predecessors, Music Beethoven stands out to the individualization of the image that is associated with the psychological principle in art.

Not as a representative of the estate, but as a person who possesses its own rich inner world, aware of a new, post-revolutionary society. It was in such a spirit that I interpreted by Beethoven his hero. It is always significant and the only one, each page of his life is an independent spiritual value. Even the motives, related to each other in type, acquire in Beethoven music such a wealth of shades in the transfer of mood, that each of them is perceived as unique. With the undisputed generality of ideas that permeate all his work, with a deep imprint of a mighty creative personality, lying on all Beethoven works, each of his opus is an artistic surprise.

Beethoven improvised in various musical forms - Rondo, variational, but most often in the sgonate. It was the sonata form that mostly answered the nature of Beethoven's thinking: he thought "Sonately", just as I. S. Bach, even in homofound their compositions, often conceived by the categories of Fugue. That is why among the whole genre diversity of Beethoven piano creativity (from concerts, fantasies and variations to miniature), the genre of Sonata naturally stood out as the most significant one. And this is why the characteristic signs of the sonata permeate the Beethoven variations and Rondo.

Each Beethoven Sonata is a new step forward in the development of expressive piano resources, then another very young tool. Unlike Haidna and Mozart, Beethoven never turned to Clavesus, recognizing only piano. His opportunities he knew perfectly, being the most advanced pianist.

Beethoven's pianism is the pianism of a new heroic style, highly saturated ideologically and emotionally. He was an antipode of all secularity and refinement. He dramatically stand out against the background of fashionable at the time of the virtuoso direction represented by the names of Hummel, Velfel, Helinek, Lipavsky and others, rival with Beethoven Viennese pianists. The game Beethoven Contemporaries compared with the speech of the speaker, with the "wildly foam volcano". She struck by unheard of dynamic pressure and was considered little with external technical perfection.

According to Schindler's memoirs, Beethoven's pianism was alien to the detailed painting, he was characterized by a large barcode. The performing manner of Beethoven demanded that the tool of dense, mighty sound, the completeness of cantilene, deepest penetration.

Beethoven, the piano first called as a whole orchestra, with a pure orchestral power (this will be developed by a sheet, A. Rubinstein). Textual multipleness, comparison of distant registers, the brightest dynamic contrasts, the bulk of multisage chords, rich pedalization is all the characteristic techniques of the Beethoven piano style. It is not surprising that his piano sonats sometimes resemble symphonies for piano, they are clearly closely as part of modern chamber music. The creative method of Beethoven in principle is one in both symphony and piano works. (By the way, the Simphonism of the Beethoven Piano Style, i.e. His approach to the style of symphony, makes itself felt from the first "steps" of the composer in the genre of the piano sonata - in OP.2).

The first piano Sonata F - Moll (1796) begins the line of tragic and dramatic works. It clearly appear the features of the "mature" style, although it is chronologically in the framework of the early period. Its first part and the final is characterized by emotional tensions, tragic sharpness. Adagio opens up a number of beautiful slow parts in Beethoven's music. Here the final plays the role of dramatic vertex. The kinship of intonation in contrasting topics (the side of the same rhythmic scheme is reproduced as the main, on the opposite melody movement), the purposefulness of the development, the sharpness of the contrasts - all this is already significantly distinguished by the first sonatoo from the Vienna keystroke style of Beethoven's precursors. An unusual building of the cycle in which the final plays the role of a dramatic vertex, it appeared, apparently, under the influence of the symphony of Mozart G-Moll. In the first sonate, tragic notes, a stubborn struggle, protest, are heard. To these images, Beethoven will repeatedly be returned to their piano sonata: fifth (1796-1798), "pathetic", in the "Lunny" final, in the seventeenth (1801-1802), in Appassionate. Later, they will receive a new life outside the piano music (in the fifth and ninth symphony, in Koriolan's supervisors and Egmont).

Clear awareness of every creative task, the desire to solve it in their own way was characterized by Beethoven from the very beginning. In his own way, he writes piano sonates, and none of the thirty-two repeats the other. His fantasy could not always meet the strict shape of the sonata cycle with a certain ratio of mandatory three parts.

At the initial stage, it will be very appropriate and important to hold music-friendly and musical and theoretical analysis. It is necessary to familiarize the student with the style features of the Music of Beethoven, work on the drama, figurative sphere of the work, consider the artistic and expressive agents, study parts of the form.

L.V. Betchen was the greatest representative of the Vienna School, was an outstanding virtuoso, its creations can be compared with the art of frescoes. The composer attached great importance to integral hand movements, using its strength and weight. For example, the arpeggled chord on FF should not shout, but to take a lot, with a weight of the hand. It should also be noted that the essence of the personality of Beethoven and his music is the spirit of struggle, the approval of the disadvantage of the will of the person, his fearlessness and durability. The struggle is the process of internal, psychological, this composer contributes to the development of the psychological direction in the art of the 19th century. You can play the main batch, ask the student to characterize it (alarming, passionate, restless, very active in rhythmic terms). When working on it, it is very important to find temperament and the necessary articulation - the length of the fourth notes of Non Legato in the batches of both hands. It is necessary that the student is looking for, where this music is anxious, passionate, mysterious, the main thing that he does not play straight. With this work, it is important to remind the disciple that one of the most important means of dynamization of the Music of Beethoven is metrors, rhythmic pulsation.

It is very important to get acquainted with the form, to pay attention to the main themes of Sonata, to identify the individual features of each of them. If the contrast is smoothed, the sonata form is not perceived. The overall nature of the soundness is associated with a quarto-orchestral letter. It is necessary to pay attention to the metrohymic organization of Sonata, which gives music clarity. It is important to feel strong shares, especially in syncopes and in stake buildings, feel the motives for a strong stake, follow the tempo unity of execution.

Beethovenic essays are inherent in heroic-dramatic images, large internal dynamics, sharp contrasts, braking and energy accumulation, breaking it in the climax, abundance of syncop, accents, orchestral sound, exacerbation of the internal conflict, the desire and calmness between intonation, more bold use of the pedal.

Of all this it shows that the study of a large form is a long and time-consuming process, the understanding of which the student will not be able to master from one lesson. And it is also assumed that the student has a good musical and technical base. Still, they say that it is necessary to find their highlight, play like no one ever.

The 1st Sonatata finals are written in the form of a Sonata Allegro with an episode instead of developing and developing elements. Thus, the form of the work plays a major role in the artwork of the work. Beethoven, while maintaining the classical harness of a sampling form, enriched it with bright artistic techniques - bright conflict of those, an acute struggle, work on the contrast of elements already inside the topic.

At Beethoven, the piano sonata is equivalent to symphony. His conquest in the field of piano style is colossal.

"Speeding a range of sounds to the limits, Beethoven revealed unknown to this expressive properties of extreme registers: the poetry of high air - transparent tones and rebellious rocomes of bass. Beethoven has any kind of figuration, any passage or short gamma becomes semantic significance, "Asafiev wrote.

The style of Beethoven pianism largely identified the future ways to develop piano music of the XIX and subsequent centuries.

Beethoven is a great maestro, a wizard of a sonatal form, during the whole of his life I was looking for new faces of this genre, fresh ways to incarnate my ideas in it.

The composer was rather a classic canon to the end of the life, but in his search for a new sound, it was often over the edge of the style, finding on the threshold of the opening of a new, unknown yet romanticism. The genius Beethoven is that he brought the classic sonata to the peak of perfection and opened the window to the new world of the composition.

Unusual examples of the interpretation of the Sonata Cycle at Beethoven

Touching in the framework of the sampling form, the composer tried to move away from the traditional formation and the structure of the sonata cycle.

This can be seen in the second sonate, where instead of Menuet, he introduces a scherzo, which will then be done repeatedly. It is widely used by non-traditional genres for Sonatat:

• march: in Sonatas number 10, 12 and 28;
• instrumental Recatations: In Sonata No. 17;
• arioso: in Sonata №31.

It is very freely interpreted by the Sonata cycle itself. Fully addressing the traditions of alternation of slow and fast parts, he begins with slow music Sonata No. 13, "Lunar Sonata" №14. In Sonata No. 21, the so-called "Aurora" (), the final part predicts a peculiar entry or introduction that performs the function of the second part. The presence of a kind of slow superdist is observed in the first part of Sonata No. 17.

Not satisfied with Beethoven and the traditional number of parts in the station cycle. His number 19, 20, 22, 24. 27, 32 Sonates, more than ten Sonatas have a four-part structure.

Not a single Sonata Allegro as such does not have Sonata No. 13 and №14.

Variations in Piano Sonats Beethoven

An important place in Sonataya Masteriers Beethoven is occupied by parts interpreted in the form of variations. In general, variational technique, variability as such, was widely used in his work. Over the years she has acquired great freedom and has become not similar to classic variations.

The first part of Sonata No. 12 is an excellent example of variations in the composition of the sampling form. With all its laxity, this music expresses a large spectrum of emotions and states. The pastorality and contemplation of this beautiful part no other form than variations could not express so gracefully and sincerely.

The author himself called the state of this part by "thoughtful reverence." These meditations of the dreaming soul, which turned out in the lap of nature, deeply autobiographical. An attempt to get away from painful thoughts and plunge into contemplation of an excellent environment, whenever end with the return of even more gloomy thought. No wonder after these variations follow the funeral march. The variability in this case is brilliantly used as a way to observe the internal struggle.

Such "reflections in yourself" is full and the second part of the "Appassionates". It is no coincidence that some variations sound in a low register, immersing in dark thoughts, and then take off to the top, expressing the warmth of hope. Music variability conveys the instability of the hero's mood.

The second part of the "Appasionates" is written in the form of variations ...

In the form of variations, the finals of Sonatov №30 and №32 were also written. The music of these parts is permeated with dreamy memories, it is not effective, but contemplative. Their topics are emphasized and tremendous, they are not sharply emotional, but rather restrained-planners, as memories through the prism of the years lived. Each variation transforms the image of the outgoing dream. In the heart of the hero, it is hope, then the desire to fight, replacing despair, then the return of the dream image.

Fugges in late Sonatas Beethoven

Beethoven enriches its variations and the new principle of the polyphonic approach to the composition. Beethoven is so imbued with a polyphonic composition, which introduced it more and more. The polyphony serves as an integral part of the development in Sonata No. 28, the Final of Sonata No. 29 and 31.

In the late years of creativity, Beethoven marked the central philosophical idea, passing in all works: relationships and interpenetration of contrasts in each other. The idea of \u200b\u200bconflict of good and evil, light and darkness, which is so bright and violently reflected in the average years, is transformed by the end of his work in the deep idea that the victory in the tests does not come in heroic battle, but through rethinking and spiritual power.

Therefore, in his late sonata, he comes to a fugue, as to the wint of dramaturgical development. He finally realized that it could be the result of music, to such a degree of dramatic and sorrowful, after which even life could not continue. Fugue is the only possible option. Thus, he spoke about the final fugue of Sonata No. 29. Thenegause.

The most complex fugue in Sonata №29 ...

After suffering and shocks, when the last hope is fading, there is neither emotions, nor feelings, only the ability to reflect. Cool sober mind embodied in polyphony. On the other hand, appeal to religion and unity with God.

It would be quite inappropriate to complete such music with cheerful Rondo or calm variations. It would be a blatant incurredness with its entire concept.

Fugue Final Sonata No. 30 has become a nightmare for the artist. It is a huge, two-year and very difficult. Creating this fugu, the composer tried to embody the idea of \u200b\u200bthe triumph of the mind over emotions. It really does not have strong emotions, the development of music is ascetic and thought out.

Sonata No. 31 is also completed by the polyphonic final. However, here after a purely polyphonic fugged episode, a homophonic warehouse of invoices is returned, which indicates that the emotional and rational principle in our life is equal.

In this sonate, it gives a new one, not too long stage development of the creative nature of Beethoven. Moving to Vienna, secular progress, the growing fame of the pianist-virtuoso, numerous, but superficial, prescribing love hobbies.

Peace contradiction is obvious. Whether the requirements of the public, light will request whether to find the path of the most faithful satisfaction them, - or go to their, heavy, difficult, but heroic? It brings, of course, the third moment is the living, the mobile emotionality of young years, the ability is easily responsible to surrender to everything that manites with its glitter and radiance.

The researchers were increasingly inclined to note "concessions", the external virtuosity of this and subsequent piano Sonatat Beethoven.

Indeed, there are concessions, they are already felt from the first clocks, the light humor of which is to settle Josef Hayidn. Many in the sonata and virtuoso figures; Some of them (for example, jumps, small game techniques, quick bustle of the broken octave) look in the past and in the future (reminding Scarlatti, Clementa, but also gummel, Weber).

However, listening to intently, we notice that the content of the Beethoven individuality has been preserved, moreover - it develops, go ahead.

First part Sonata (Allegro Vivace, A-DUR) is notable for the growing riches of the thematic composition, the scale of development.

Following the Okadovsky, Naughty, Gaidnovsky, the beginning of the main party (perhaps, in it, the share of irony at the address "Papashi Gaidna") should have a series of clearly ritmented and brightly peanutically distilled kazdasov (with favorite Beethoven Accents at the reference points). This cheerful rhythmic game calls to mindless joys. A brilliant game of kazdasov is opposed in a town side party - an almost romantic warehouse. It is prefacing in the transition to a side part, marked by the sighs of the eighth, alternating between the right and left hands. When the rhythmic background of Tremolo Sixteen in the left hand is entering (vol. 58 and d.), The sighs of the right hand become alarming, passionately impustious and begging. Chromatizms an excitedly rising melodic line, syncopes, harmonies - up to the beloved romantic sepkord of two small and one large (Later immensely operated by Wagner in Opera Tristan and Isolde) - Everything sounds here so new, so fresh! The Kadans of the Main Party were fragments, the development of an internally party - continuously:

But, having reached the climax and breaking around the growth of romantic languishing with loud exclamations and their quiet echoes, Beethoven will again plunge into the stream of cheerfulness, brilliant fun of the final party. Here, decisive kazdasses are extremely relief opposed to chromatic tomorrows of the side part. It turns out the nature of the entire image. It is impossible to surpasically surpas for the comforts of life - the thirst for depth, passionate feeling awakens; And, at the same time, suffering is born, dissatisfaction. Life again manits its seductions, and the will quickly copes with dreams about true happiness.

However, this is not the result. In the development (where Lenz fairly found "symphonic development") a new element appears - heroic, fanfarm. The fact that he (borrowed from the first element of the main party and transformed) is given by the Tremolizing background of the sixteenth of the side partition - one of the manifestations of the slender logic of Beethoven. It is planned to overcome the alarm and sorridge of personal life in the heroic of struggle, labor, the feat.

The heroic beginning acts in development and further, where the sequenced rolls are developed and sounds like the orders of the will such "mindless", passive first of the second element of the main party. Calm on the dominant before reprise - Beethovenski is the original application of the classic organ point - in order to create a fracture, cesura form and, at the same time, to initiate the feeling of the thirst for the return of initial images.

Reprise does not contain substantially new elements, and we will not specifically stop on it. We note only deep in meaning the ending and exposition and reprints of the loud, pauses (Beethoven later loved these ends later). The essence is in the underlined non-usefulness, in, so to provide, questioning the results of the development of images. A similar ending exacerbates the current contradictions and especially firmly attracts the attention of the listener.

In second Part Sonats (Largo Appassionato, D-DUR) are more purely Beethoven Damn, than in the slow portion of the previous sonata.

It is impossible not to notice the density and juciability of the textures, moments of rhythmic activity (by the way, the rhythmic background of the eighth "solders" the whole), clearly pronounced singers, Legato domination. It is not by chance that, of course, the most inlet, the average register of the piano (the last conduct of the topic is like wooden winds - sounds light contrast). Imprint, heat, the saturation of the experience - is very typical, prevailing features of the images of Largo Appassionato. And these are the features of new, which was not at the same extent in the piano creativity neither Haidna, nor Mozart. Of course, A. Rubinstein, who found the "New World of Creativity and Decreased here". Recall that A. I. Kubrin chose it by the Largo epigraph of his story "Pomegranate bracelet", a symbol of "big love" of Yolkova to faith Nikolaevna.

Great wealth of emotional branches and shades of Largo. The main topic with its concentrated choral (an early example of purely Beethoven wise contemplations) serves as a rod. And the bright sorrow of the "violin" (then "cello") of the intonations of affection (with t. 19) and the drama of minor topics are stuck around this rod.

Romain Rollan rightly noted the special meaning of the slow parts of the Beethoven Sonatat. Criticizing the modern formalist professionals, Romain Rollan wrote: "Our musical era, more interested in building, rather than feeling, gives a smaller value of Adagio or Andante than the first Allegro classic sonatas and symphony. In the era of Beethoven, it was different; And the German audience at the turn of the XVIII and XIX centuries. Even quenching thirst in the threads of "longing in the homeland", Sehnsucht, tenderness, hopes and melancholy, which flowed in Beethoven Adagio, as well as in the songs of the same period (1795-1796) from Wilhelm Meister.

Largo APPASSIONATO from the second Sonata is an example of the construction of a slow semonate part of Beethoven already developed in the shaped ideological sense. In the trends of such parts - to look at the world as if from the inside, from the moral norms - you can catch the echo of philosophical and religious trends of the era (significant, in this plan, the latter, as if purified from the "carnival" conducting the topic of Largo). But the fact of the matter is that Beethoven is only at times, and it indirectly concerns the religious sphere. He dominates the real life content of the persistent dooms of the people of his time over the problems of ethical, the problems of improving the personality, which, deepening in itself, finds the strength to master the passions, subjugate them with the highest moral tasks. In Largo - and the struggle and overcoming. Lenz, who found here "the whole little oratory" was in his own way.

The contrast introduced by the next schero (allegretto, a-dur) is great. The appearance of the scherzo (instead of Menuet) indicates an innovation. Its essence in the need to revive a single element of jokes, humor, genre. In the scherzo, the second Sonatas gallant "squats" of the first topic is transformed by coarse immediacy and straightness. And in Trio - again singer.

IN finale Sonata (Rondo, Grazioso, A-DUR) Beethoven significant elected the Rondo structure with three main topics (and with the final first-top one); This structure, it later is especially especially useful in its finals, as the most spacious, flexible and, with those other than Sonata Allegro.

Lenza owns mocking words about the allegedly excessive length and banality of the music of this Rondo.

On the contrary, A. Rubinstein saw in the final of the second sonata novelty of ideas and techniques, charming grace.

We think that a large stress decline and the dominance of elegant-surface in the final - the result is not a mischief or failure, but the conscious intention of Beethoven, generated by the youthful burdens and the soreness of the composer's thought.

Showing in the first and second parts wealth and demanding of its emotional world, their ethical ideas, Beethoven now hides all this under the cover of a secular gloss, salon grace. True, in the final, the individuality of Beethoven gives itself to know - in the rhythm chasingness, in the temperament of accents, in some fanfar intonations of minor fragments, in fresh, strong, tonal, rhythmic and textured turnover of development before the last advent of the initial topic. But sharp corners, nevertheless, just break, do not catch up. The young lion seemed to be tamed, forgot his wildness and independence. What a humble, polite Cadan is completed by Rondo, and with him, and the whole sonata!

But let's not be deceived! Let even Beethoven sincerely fascinated by the "smoles of light." This is fleeting, as we know from many facts biography of the Great Musician. Under the cover of transient hobbies, a person remains deep feelings, incorruptible will and huge ethical requirements. In the soul, he, apparently, is already ironing over his own weaknesses and on the challenge of the secular listeners, itchizes and prepares for new creative feats.

All music quotes are given by publication: Beethoven. Sonatas for piano. M., Muzgiz, 1946 (editorial office of F. Lamonda), in two volumes. Numbering of clocks is also given on this edition.